Name: Beethoven: Piano Sonatas Op. 109-111 - Alexandre Tharaud
SKU: 0190295633820
Availability: outofstock

Beethoven: Piano Sonatas Op. 109-111 – Alexandre Tharaud

Piano Sonata No. 30 in E Major, Op. 109: I. Vivace ma non troppo – Adagio espressivo
Piano Sonata No. 30 in E Major, Op. 109: II. Prestissimo
Piano Sonata No. 30 in E Major, Op. 109: III. Andante molto cantabile ed espressivo & Variations I to VI
Piano Sonata No. 31 in A-Flat Major, Op. 110: I. Moderato cantabile molto espressivo
Piano Sonata No. 31 in A-Flat Major, Op. 110: II. Allegro molto
Piano Sonata No. 31 in A-Flat Major, Op. 110: III. Adagio, ma non troppo – Fuga; Allegro, ma non troppo
Piano Sonata No. 32 in C Minor, Op. 111: I. Maestoso – Allegro con brio ed appassionato
Piano Sonata No. 32 in C Minor, Op. 111: II. Arietta – Adagio molto, semplice e cantabile

Alexandre Tharaud

Reference: 190295633820
Barcode: 0190295633820
Length: 1:01:54
Label: Warner

Formaat: 2 CD

Release datum: 12/10/2018

Barcode: 0190295633820 Categorieën: CD, Klassiek, Onze favorieten

19,90€

Uitverkocht

Jean Rondeau a choisi d’enregistrer 15 sublimes sonates de Scarlatti, véritables sommets de la littérature pour clavier. Le résultat est exceptionnel de légèreté, de vivacité et d’émotion.

Jean Rondeau koos ervoor om 15 sublieme Sonates van Scarlatti, pareltjes uit de klavierliteratuur, op te nemen. Het resultaat is van een uitzonderlijke lichtheid, levendigheid en emotie.

in Piano International (Jan, 2019)
Alexandre Tharaud’s recordings range over a wide expanse of repertoire, from Rameau, Bach and Scarlatti, to Kagel and the singer-songwriter Barbara. Generally, enlightenment and enjoyment follow in equal measure but it was risky for his first Beethoven recording to go straight to the final three sonatas, one of the greatest challenges to any pianist. I do not think it has entirely come off.

No 30, that deceptively simple-sounding masterpiece, encapsulates the problem. The opening Vivace ma non troppo is light and airy, catching the feeling of improvisation that is one of the work’s hallmarks, but the ensuing Prestissimo feels like a technical exercise where the virtuosic challenge of the notes is …

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